![]() "What is pushing this thing forward? What is making it happen?" Workman boiled the 143-minute movie down to just two minutes, which he packed with about 50 scenes. Workman used plenty of raisins and plenty of nuts in his montage of the movie Babel when it was nominated for best picture back in 2007. ![]() "But you wanna have plenty of raisins and plenty of nuts." "You don't want to have too many raisins, too many nuts," he says. He likens the task to making a fruitcake. You know, those assortments of expertly edited clips looking back at who died in the past year, or the ones that sum up each best picture nominee in just a couple of minutes.įor 20 years, Chuck Workman created many of the Oscar montages. Oscar-watchers expect to see certain things every year: fabulous dresses, maudlin speeches, montages. Workman says montages today have a less highly edited style. But it’s a good faith step in the right direction.” _įollow AP Film Writer Lindsey Bahr on Twitter: Workman at his editing station in Beverly Hills in 2010, the last year he created montages for the Oscars. “Could they have gone further? Of course. The Oscars were inching closer and closer to becoming the Emmys,” said one top awards strategist and academy member who requested anonymity to speak candidly about the changes. “It’s about time that the academy made a move to recommit to theatrical. Others are more hopeful and know that the academy’s board of governors meet often to reassess rules as the landscape continues to change. Questions also remain about how it will affect the eligibility of animated films and documentaries, which wouldn’t have to meet these requirements to qualify in their individual categories but now might have to adopt a different strategy to be in contention for best picture. Could companies simply rent out eight screens that will play to minimal or no crowds in densely populated areas that are relatively cheap and that are also not historically great for indie films? It’ll check the box, but will it help theaters, the films or audiences? And will it lead to an even greater year-end bottleneck of releases? There are a lot of unknowns about the specifics of the expansion, including whether there will be minimum of showtimes and screens. “I think it’s fair to say that nearly any film that doesn’t meet these parameters never stood a chance in a best picture race anyway.”īerger added: “Hopefully the result of this isn’t more robust and more costly campaigning that only serves to further divide merit based results from campaign based results.” “It’s important to consider that qualifying is merely a first step in a long process that involves robust and costly campaigning,” said Dan Berger, the president of the independent film company Oscilloscope. Even non-traditional Oscar “underdogs” like “ Drive My Car ” and “ RRR ” had substantial theatrical runs. Apple’s best picture winner “CODA” played in about 40 theaters. Much like the diversity requirements that went into effect this year, few could think of recent best picture players that wouldn’t have met this threshold. Some of the bigger indie stalwarts are even scheduling major studio films, leaving fewer times and screens available for true independents. Independent theaters and those willing to play independent films have become rarer and the competition is fierce for those screens in the major markets. The new rule may weed out the possibility of a grassroots campaign on behalf of a very small film, however. Its most recent best picture nominee, “All Quiet on the Western Front,” played in hundreds of theaters. ![]() All of Netflix’s nominees since “Roma” have met the requirement. theaters - New York’s Paris Theater and Los Angeles’ American Cinematheque - but they’ve also historically given theatrical runs to their awards hopefuls. Netflix has had a bigger theatrical footprint lately too. Amazon is already planning to release 12 to 15 movies theatrically every year, as they’ve already done with Ben Affleck’s “Air.” Apple is also set to spend $1 billion a year on movies that will land in cinemas before streaming, including Ridley Scott’s “Napoleon.” For streaming services, it could be a case-by-case adjustment depending on the company but not a hurdle.
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